As many of you know, for 45 years Josep Pujiula i Vila has been building one of the most spectacular examples of public art in the world. Completely self-taught, he began building for his own enjoyment, yet has come to delight in sharing his work with others. At the height of its existence, his constructions—which were primarily created out of the flexible saplings that he gathered from the nearby river—included eight towers, some approaching 100 feet (30 meters) high, along with a labyrinth that snaked over the landscape over a mile (1.6 km) in length. It was a joyous work of art that was an inspiration to its thousands of international visitors each year, and it has been featured in newspapers, magazines, books, and television programs internationally.
I have been studying and documenting Pujiula’s work since 2000. I have published numerous articles about him, and I also featured him in my book “Forms of Tradition in Contemporary Spain,” produced a DVD about his work, and have lectured on him widely in the US, France, Spain, and Italy. He is a dedicated, passionate artist who is involved 24/7 with his work, and although he works improvisationally, having had no training in art, architecture, nor engineering, he has been able to build marvels that have inspired all who have visited them.
Yet although Pujiula has asked nothing of anyone but to be left alone to make his art, he has been consistently targeted by the local authorities, who are threatened by his work, as it neither complies with local building codes nor with what this conservative community tucked into the foothills of the Spanish Pyrenees understands as “Art.” Three times they have forced him to tear it down—citing fear of fire, concern for public safety, proximity to electrical wires and the freeway. Each time Pujiula has complied but, unable to stop working, he has always started up again. He is the quintessential irrepressible artist whose work has become his life.
After the second demolition, Pujiula began to work in concrete and steel, using found objects to create numerous sculptures as well as a lyrical cascading fountain, taking advantage of the runoff from a huge drainage pipe installed underneath the nearby freeway. These concrete constructions do not bring with them the same kinds of issues as the wooden towers and labyrinth did: they will not burn, they are not impinging on electrical towers nor the freeway, and, as they follow the slope of the ground, they do not tempt visitors to climb to the heights, so the possibility for public endangerment is low. Yet, although the local authorities had originally indicated that he could retain this portion of his artwork, and could continue to work, they have just changed their minds, and have mandated its demolition as well. Immediately.
Works of public art created by self-taught artists are often in jeopardy, but in this case, we can do something about it. I ask your help to sign a petition that will simply ask the local mayor to allow this artist to continue to make his art. At 75 years old, he is breaking no laws and inciting no danger; rather, he is bringing enjoyment to young and old with his creativity and humor. Help us convince the mayor of Argelaguer (population 424) to reverse his edict of destruction, and allow Pujiula to continue to create an art environment that will be remembered and enjoyed for long after he is gone.
Click here to sign the petition; you’ll only need to give your name, email, and country of origin: